Creators and vendors of an Ethiopic text family, HahuLite: "HahuLite is a program that runs on an IBM PC (or compatibles) that has Windows 95. This program enables you to write in Tigrigna and other languages that use the Geez alphabet, directly from your PC keyboard without any changes or additions to your existing Windows programs!" ACIS Consulting is based in Toronto. [Google]
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Lansbury is a free art nouveau typeface that mimics the font used in the TV series Murder She Wrote. The actual font used for the title of that series was URW's ArtGothic (specimen). FletcherGothic (1992, Casady&Greene) is another free version of it. [Google]
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Cape Town, South Africa-based graphic designer who was also born in Cape Town and grew up in Namibia, Creator of the multiline typeface Reading Together (2014), which pays attention to blind people. Behance link. [Google]
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Antonio J. Morata (Almeria, Spain, b. 1968) is a FontStructor (aka elmoyenique) who used FontStruct to make several modular faces starting in 2010. The typeface names start with z. We list them alphabetically:

Born and died in Addis Ababa, 1926-1979. Educator (at Addis Ababa University), author, and calligrapher, who was frequently called upon by Emperor Haile Selassie for calligraphy and lettering. His Gothic Goffer (blackletter-style) characters were extended into a font by Abbas Alamnehe (2006). [Google]
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From Cameroon: this script had originally 466 pictographic and ideographic symbols and was devised by sultan Ibrahim Njoya king of the Bamoun. These are interesting characters, and should be fun to design in a font. [Google]
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Ben Grib (Black Bird Foundry, and Black Bird Press, South Africa) created the Western signage typefaces Excelsior and Indiana Headline in 2015. He also made the hand-crafted signage typeface Deputy Serif (2015). On Behance, we read that the foundry is associated with Chris Bushey in Bongoville, Gabon. Chris made the Victorian signage typeface Fancy Pants.

Graphic designer in Cape Coast, Ghana, who created a typographic poster in 2012 called Felman Ayariga. He is associated with Bagsart Designs, and with the University of Science and Technology in Kumasi. [Google]
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Hungarian foundry with commercial and free fonts, est. 2005 by Attila Zigó. On Deviantart, they claim to be from Rwanda. They specialize in grunge type--some of the fonts are quite gorgeous indeed. Has a fontmaking service.

Designs by Jason Castle from San Rafael, CA, who graduated from Dominican University of California. He does custom font design and sells commercial faces through MyFonts and FontShop. Blog. These include:

Carisma (2007, a clean geometric sans), Carlos (art deco inspired by Elektra), Castle Fleurons, Chinoise (2008, based on hand lettering that is reminiscent of a style of ancient Chinese square-cut ideograms), Cloister Black, Copperplate Script, Cradley (2015, a Caslon titling family with Greek and Cyrillic, named after the birthplace of William Caslon).

M: Maximilian CS (Rudolf Koch, 1917), Metropolis Bold and Shaded (based on the 1932 Stempel cut as designed by W. Schwerdtner), Minotaur (2008, an original monoline design based on an Oscan votive inscription from the second century BC; looks like simulated Greek).

S: Samira (2008, art nouveau style), Shango (1993, based on Schneidler Initials by F.H.E. Schneidler (1936), and including a digital version of Schneidler Cyrillic (1992); extended in 2007 to Shango Gothic and in 2008 to a 3-d shadow version, Shango Chiseled, and in 2009 to Shango Sans), Sculptura (2005, an all caps typeface based on Diethelm's Sculptura from 1957), Sencia (2008, based on Spanish art deco stock certificate lettering from 1941), Sonrisa (2009, art deco family---Sonrisa Thin is free), Standard CT (a neo-grotesque family).

Tambor (Light, Black, Inline, Adornado) (1992) (note: Jason claims that it was remotely based on Rudolf, which in turn was based on calligraphy of Rudolf Koch), Trio (an art deco sansserif), Trooper Roman (discontinued).

Type designer of the photolettering era (1960s) who created the chiseled 3d typeface Sculpture. Nick Curtis's Haut Relief (2007) is based on this typeface. The African-themed Djibouti of Nick Curtis (2007) is based on West's African Queen, also a 1960s font. [Google]
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Union Type Supply used to be run by Chris MacGregor in Houston, TX, who was (is?) a web communications specialist at Halliburton. He also used to run Penultimate Type in Seabrook, TX. He founded About with Don Synstelien.

Designer at the Open Font Library of Triad Postnaya (2013, an old Church Slavonic typeface and its Latin simulation twin), Stanislav Caps (2013), Pacaya (2013, a medium-weight sans), Jura (2011, in the style of Eurostile), Didact Gothic (2010, a simple and readable sans i in the form most often used in elementary classrooms), Judson (2010, designed for African literacy), Megrim (2010, a monoline drawing table sans), Aguardiente (2010, heavy sans), Deka (2010, a monospace font designed for very small display sizes), Rahel (2009, Hebrew), Sacco-Vanzetti (2009, sans), Travelogue (2008), Grana Padano (2010), Pfennig (2010, an extensive humanist sans family) and Jura (2009, sans family with support for Burmese, Cyrillic and Greek).

Johnson explains: Jura is a family of sans-serif fonts in the Eurostile vein. It was originally inspired by some work I was doing for the FreeFont project in designing a Kayah Li range for FreeMono. (Kayah Li is a language used by a minority people group in Burma. Because the Burmese government suppresses the teaching of minority scripts, the Kayah Li script is taught only in schools in refugee camps in Thailand.) I wanted to create a Roman alphabet using the same kinds of strokes and curves as the Kayah Li glyphs, and thus Jura was born.

Triod Postnaja (2010) attempts to mimic the typefaces used to publish Old Church Slavonic service books prior to the 20th century. It also provides a range of Latin letters in the same style.

He contributed to the GNU Freefont project. In particular, he created by hand a Cherokee range specially for FreeFont to be "in line with the classic Cherokee typefaces used in 19th century printing", but also to fit well with ranges previously in FreeFont. Then he made Unified Canadian Syllabics in Sans, and a Cherokee and Kayah Li in Mono. And never to be outdone by himself, then he did UCAS Extended and Osmanya. His GNU Freefont ranges:

Type designer of the photolettering era (1960s) whose work is slowly but surely being digitally revived by Nick Curtis, and by Photo-Lettering, the House Industries subsidiary that bought the PhotoLettering Inc type collection. FontShop link. His typefaces:

The slightly psychedelic typeface West Banjo. Nick Curtis's Fiddle Sticks (2007) is based on this typeface.

Walnetto Casual (Photolettering) is another psychedelic face. For a digitization, see Nick Curtis's JackalopeNF (2010). West Barnum Ultra, designed by Dave West and digitized by Ben Kiel&Adam Cruz at House Industries in 2011, was film no. 5494 in the original Photo-Lettering archive.

The DejaVu fonts form an open source font family based on the Bitstream Vera Fonts. Free download. Its purpose is to provide a wider range of characters (see Current status page for more information) while maintaining the original look and feel through the process of collaborative development. Included are DejaVuSans-Bold, DejaVuSans-BoldOblique, DejaVuSans-Oblique, DejaVuSans, DejaVuSansCondensed-Bold, DejaVuSansCondensed-BoldOblique, DejaVuSansCondensed-Oblique, DejaVuSansCondensed, DejaVuSansMono-Bold, DejaVuSansMono-BoldOb, DejaVuSansMono-Oblique, DejaVuSansMono-Roman, DejaVuSerif-Bold, DejaVuSerif-BoldOblique, DejaVuSerif-Oblique, DejaVuSerif-Roman, DejaVuSerifCondensed-Bold, DejaVuSerifCondensed-BoldOblique, DejaVuSerifCondensed-Oblique, DejaVuSerifCondensed.

Denis Moyogo Jacquerye is the Belgian co-leader of the DejaVu font project (free fonts based on Bitstream Vera), the default GUI for fonts on several Linux OS distributions. He is working on extending various Open Source fonts to support African orthographies in Latin script. He is collaborating with a network of experts in African languages localization as part of the Pan Africa localization Network (ANLoc). Denis, with a Bs.C in Computer Science and a minor in Linguistics from McGill University, has experience in the Language Technology industry, Open Source software, Font Engineering and Unicode software support for African language. Denis currently lives in Brussels.

He designed the open license font family Molengo (2010, sans), which is part of the Google open font directory. He also participated in the GNU Freefont project, where he added new glyphs and corrected existing ones in the Latin Extended-B (U+0180-U+024F) and IPA Extensions (U+0250-U+02AF) ranges.

Design Africa is an outfit run by Anton Scholtz and Merle from Musgrave, KwaZulu-Natal, South Africa. Their commercial fonts have Latin letters but an African look: Umkhonto, Ubuvila, Amanzi, Assegai, Bongo, Doorn Display, Doorn Body, Zebra, Utshani, Tabwa, Amabhokisi, Baobab, Siyabonga, Inja. When you visit them, do not forget to look at their great ethnic patterns. [Google]
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Diego holds a Masters from the KABK in Den Haag, 2004. His thesis project was entitled Tuhun. A typographic exploration of the Mixtec language. He made the stencil typeface Nairobi Quality, the text typeface Tuhun (2006), the text typeface Viko (2004), and a font for the Mixtec language of Oaxaca, Mexico. Currently living in Mexico and working with his wife, Kythzia Barrera, in their studio called Frutas y Verduras. He teaches at the Universidad Iberoamericana, in Mexico City. Mainly interested in typography, graphic design and organic agriculture. Speaker at ATypI 2009 in Mexico City, where he explained the challenges posed by native languages in Mexico. [Google]
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This used to be a wonderful page, but Michelle Dixon seems to have retired from the font making business. There used to be five shareware dingbats fonts: African Ornaments One, Cave Painting Dingbats One, Mayan Dingbats, Pre-Columbian Ornaments One, and Printers' Ornaments One (Mac PS), plus about 45 other original fonts (not shareware). In her wonderful collection, the following of Michelle Dixon's creations stand out: Arrighi Copybook, ItalianMosaicOrnaments, Beautiful, LondonHouse, Love Letter Typewriter, Gaudy Medium, Rusty Nail-Medium (the last four are all old typewriter fonts), and the display fonts Isla Bella (art nouveau), La Negrita, Arty Nouveau, Victorian, Art Nouveau Fonts, Bad Dog-Black, Berlin, Caslon Frenzy, Dixon's Vixens Caps, AntiqueMonoTW, DangerousTypoWriter, Elegant Nouveau Initial Caps, Fruitbasket, Matador, Manhattan, Modern Scribe, Ovid, Spillage, Tacos, Tolstoy, Typewriter, Love Letter, Basketcase, ChiliPepperDingbats, Postage Stamps, Garish Monde, Taco Modern, and Beautiful Ink. All fonts are between 5 and 30 dollars a piece, but often there are four fonts per face. In August 98, the absolutely gorgeous calligraphic font Beautiful Ink became available as a 10USD shareware font in Windows TrueType. Many designs are by Blake Haber, who is Michelle Dixon's husband. Located in Santa Barbara, CA.

In 2015, he made the 3-style sans typeface Suber for an art fair in Paris. Bota Serif (2015), which was inspired by Cochin, designed by Charles Peignot in 1912, is a custom font designed for Hotel des ventes de Poitiers.

Ge'ez is the ancient language in which the scriptures of the Ethiopic Orthodox Church are written. Amharic is the majority language spoken in modern Ethiopia: it descended from Ge'ez, but is quite different. [Google]
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The free GF Zemen truetype fonts (gfzemen1.ttf and gfzemen2.ttf) are encoded in the "Ethiopian ASCII" system developed by EthiO Systems. "gfzemenu.ttf" is a Unicode encoded font for Ethiopic. Yonas Fissehi told me that he created a BDF font for X-Windows that was the precursor to gfzemen. He believes that GFZemen's credit should go to Yitna Firdyiwek of "Goha Tibeb"---Biruk Asrat ported the files. [Google]
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According to some sources, Mike Murray is selling stolen goods, in this case GeezEdit 1.1 (20 USD). Here is the blurb: " This is a stolen product. Cnet should be ashamed for being used by such a stupid thief. Mike Murray is in possession of numerous illegal fonts reverse engeneered from a free GeezEdit Amharic P font. Very ugly characters have been concocted out of smaller pieces and thrown into three arbitrary and imaginary typefaces.". [Google]
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American designer, b. Rockville Centre, NY, 1950. George Ryan held senior positions at Linotype and Bitstream since 1979, where he has been involved in the production of over 2500 fonts. In 2004, Ryan joined Agfa Monotype. Creator of these typefaces:

The Bitstream font Oz Handicraft (1991). This was created by George Ryan in 1990 from a showing of Oswald Cooper's hand lettering found in The Book of Oz Cooper, published in 1949 by the Society of Typographic Arts in Chicago).

Jason Glavy, who lives in Yokohama, runs Glavy Fonts. He has created some free fonts: JGLepcha (2001, a West-African language font), JG Chantabouli and JG Sasettha (cleaned up and extended unicode vesions of Sasettha and Chantabouli fonts created by John Durdin), JGAksaraBali, JGBasicLao, JGChamVer2, JGChamCambodia, JGChamVN, JGChantabouliLao, JGHurufJawaSanskrit, JGLaoOldArial, JGLaoOldface, JGLaoTimes, JGSoyombo (Tibetan), WL-LatinIPATimes. He used to have a bunch of Japanese fonts on his web site, including his Jindaimoji series. He also created three fonts for Makassarese/Buginese. At some point, he was associated with Saronix Japan. His Hmong page had JGCwjmemFinalVersion, JGCwjmemSecondVersion, JGCwjmemThirdVersion, JGNaadaasFinalVersion, JGNaadaasSecondVersion, JGNaadaasThirdVersion, JGPahawhFinalVersion, JGPahawhSecondVersion, JGPahawhSourceVersion, JGPahawhThirdVersion, JGPuajTxwm, all made in 2002: of these, the Pahawh series is original, while Cwjmem and Naadaas are improvements of other fonts. West African fonts designed by him: JGBassaVahHandwriting, JGBassaVahPrint, JGBete, JGKpelleA, JGKpelleB, JGNKo, JGVaiA, JGVaiB, JGVaiC. These fonts are well researched, and are based on drawings and findings by Dalby, Dr. Welmer, and Jensen. Some of Glavy's fonts for other languages: JGBasicLao, JGChamCambodia (1998), JGChamVN (1998), JGChantabouliLao, JGHurufJawaSanskrit (2001), JGLaoOldArial, JGLaoOldface, JGLaoTimes, JG Lepcha (2001), JGSoyomb (2001). [Google]
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The GNU Freefont is continuously being updated to become a large useful Unicode monster. GNU FreeFont is a free family of scalable outline fonts, suitable for general use on computers and for desktop publishing. It is Unicode-encoded for compatability with all modern operating systems. There are serif, Sans and Mono subfamilies. Also called the "Free UCS Outline Fonts", this project is part of the larger Free Software Foundation. Scans: FreeMono, FreeMonoBold, FreeMonoBoldOblique, FreeMonoOblique, FreeSans, FreeSansBold, FreeSansBoldOblique, FreeSansOblique, FreeSerif, FreeSerifBold, FreeSerifBoldItalic, FreeSerifItalic. The original head honcho was Primoz Peterlin, the coordinator at the Institute of Biophysics of the University of Ljubljana, Slovenia. In 2008, Steve White took over. Participants and credits, as of the end of 2010, with Unicode range responsibilities:

Yannis Haralambous and John Plaice. Yannis Haralambous and John Plaice are the authors of Omega typesetting system, which is an extension of TeX. Its first release, aims primarily at improving TeX's multilingual abilities. In Omega all characters and pointers into data-structures are 16-bit wide, instead of 8-bit, thereby eliminating many of the trivial limitations of TeX. Omega also allows multiple input and output character sets, and uses programmable filters to translate from one encoding to another, to perform contextual analysis, etc. Internally, Omega uses the universal 16-bit Unicode standard character set, based on ISO-10646. These improvements not only make it a lot easier for TeX users to cope with multiple or complex languages, like Arabic, Indic, Khmer, Chinese, Japanese or Korean, in one document, but will also form the basis for future developments in other areas, such as native color support and hypertext features. ... Fonts for UT1 (omlgc family) and UT2 (omah family) are under development: these fonts are in PostScript format and visually close to Times and Helvetica font families.

Latin Extended-B (U+0180-U+024F)

IPA Extensions (U+0250-U+02AF)

Greek (U+0370-U+03FF)

Armenian (U+0530-U+058F)

Hebrew (U+0590-U+05FF)

Arabic (U+0600-U+06FF)

Currency Symbols (U+20A0-U+20CF)

Arabic Presentation Forms-A (U+FB50-U+FDFF)

Arabic Presentation Forms-B (U+FE70-U+FEFF)

Yannis Haralambous and Wellcome Institute. In 1994, The Wellcome Library The Wellcome Institute for the History of Medicine 183 Euston Road, London NW1 2BE, England, commissioned Mr. Haralambous to produce a Sinhalese font for them. We have received 03/09 official notice from Robert Kiley, Head of e-Strategy for the Wellcome Library, that Yannis' font could be included in GNU FreeFont under its GNU license: Sinhala (U+0D80-U+0DFF).

Young U. Ryu at the University of Texas at Dallas is the author of Txfonts, a set of mathematical symbols designed to accompany text typeset in Times or its variants. In the documentation, Young adresses the design of mathematical symbols: "The Adobe Times fonts are thicker than the CM fonts. Designing math fonts for Times based on the rule thickness of Times =,, +, /, Valek Filippov added Cyrillic glyphs and composite Latin Extended A to the whole set of the abovementioned URW set of 35 PostScript core fonts, Ranges: Latin Extended-A (U+0100-U+017F), Cyrillic (U+0400-U+04FF).

Wadalab Kanji Comittee. Between April 1990 and March 1992, Wadalab Kanji Comittee put together a series of scalable font files with Japanese scripts, in four forms: Sai Micho, Chu Mincho, Cho Kaku and Saimaru. The font files were written in custom file format, while tools for conversion into Metafont and PostScript Type 1 were also supplied. The Wadalab Kanji Comittee has later been dismissed, and the resulting files can be now found on the FTP server of the Depertment of Mathematical Engineering and Information Physics, Faculty of Engineering, University of Tokyo: Hiragana (U+3040-U+309F), Katakana (U+30A0-U+30FF). Note that some time around 2009, the hiragana and katakana ranges were deleted.

Angelo Haritsis has compiled a set of Greek type 1 fonts. The glyphs from this source has been used to compose Greek glyphs in FreeSans and FreeMono. Greek (U+0370-U+03FF).

Yannis Haralambous and Virach Sornlertlamvanich. In 1999, Yannis Haralambous and Virach Sornlertlamvanich made a set of glyphs covering the Thai national standard Nf3, in both upright and slanted shape. Range: Thai (U+0E00-U+0E7F).

Shaheed Haque has developed a basic set of basic Bengali glyphs (without ligatures), using ISO10646 encoding. Range: Bengali (U+0980-U+09FF).

Sam Stepanyan created a set of Armenian sans serif glyphs visually compatible with Helvetica or Arial. Range: Armenian (U+0530-U+058F).

Sushant Kumar Dash has created a font in his mother tongue, Oriya: Oriya (U+0B00-U+0B7F). But Freefont has dropped Oriya because of the absence of font features neccessary for display of text in Oriya.

Prasad A. Chodavarapu created Tikkana, a Telugu font family: Telugu (U+0C00-U+0C7F). It was originally included in GNU Freefont, but supoort for Telugu was later dropped altogether from the GNU Freefont project.

Frans Velthuis and Anshuman Pandey. In 1991, Frans Velthuis from the Groningen University, The Netherlands, released a Devanagari font as Metafont source, available under the terms of GNU GPL. Later, Anshuman Pandey from Washington University in Seattle, took over the maintenance of font. Fonts can be found on CTAN. This font was converted the font to Type 1 format using Peter Szabo's TeXtrace and removed some redundant control points with PfaEdit. Range: Devanagari (U+0900-U+097F).

Jeroen Hellingman (The Netherlands) created a set of Malayalam metafonts in 1994, and a set of Oriya metafonts in 1996. Malayalam fonts were created as uniform stroke only, while Oriya metafonts exist in both uniform and modulated stroke. From private communication: "It is my intention to release the fonts under GPL, but not all copies around have this notice on them." Metafonts can be found here and here. Ranges: Oriya (U+0B00-U+0B7F), Malayalam (U+0D00-U+0D7F). Oriya was subsequently dropped from the Freefont project.

Thomas Ridgeway, then at the Humanities And Arts Computing Center, Washington University, Seattle, USA, (now defunct), created a Tamil metafont in 1990. Anshuman Pandey from the same university took over the maintenance of font. Fonts can be found at CTAN and cover Tamil (U+0B80-U+0BFF).

Berhanu Beyene, Prof. Dr. Manfred Kudlek, Olaf Kummer, and Jochen Metzinger from the Theoretical Foundations of Computer Science, University of Hamburg, prepared a set of Ethiopic metafonts. They also maintain the home page on the Ethiopic font project. Someone converted the fonts to Type 1 format using TeXtrace, and removed some redundant control points with PfaEdit. Range: Ethiopic (U+1200-U+137F).

Vyacheslav Dikonov made a Braille unicode font that could be merged with the UCS fonts to fill the 2800-28FF range completely (uniform scaling is possible to adapt it to any cell size). He also contributed a free Syriac font, whose glyphs (about half of them) are borrowed from the free Carlo Ator font. Vyacheslav also filled in a few missing spots in the U+2000-U+27FF area, e.g., the box drawing section, sets of subscript and superscript digits and capital Roman numbers. Ranges: Syriac (U+0700-U+074A), Box Drawing (U+2500-U+257F), Braille (U+2800-U+28FF).

M.S. Sridhar. M/S Cyberscape Multimedia Limited, Mumbai, developers of Akruti Software for Indian Languages (http://www.akruti.com/), have released a set of TTF fonts for nine Indian scripts (Devanagari, Gujarati, Telugu, Tamil, Malayalam, Kannada, Bengali, Oriya, and Gurumukhi) under the GNU General Public License (GPL). You can download the fonts from the Free Software Foundation of India WWW site. Their original contributions to Freefont were

Devanagari (U+0900-U+097F)

Bengali (U+0980-U+09FF)

Gurmukhi (U+0A00-U+0A7F)

Gujarati (U+0A80-U+0AFF)

Oriya (U+0B00-U+0B7F)

Tamil (U+0B80-U+0BFF)

Telugu (U+0C00-U+0C7F)

Kannada (U+0C80-U+0CFF)

Malayalam (U+0D00-U+0D7F)

Oriya, Kannada and Telugu were dropped from the GNU Freefont project.

DMS Electronics, The Sri Lanka Tipitaka Project, and Noah Levitt. Noah Levitt found out that the Sinhalese fonts available on the site metta.lk are released under GNU GPL. These glyphs were later replaced by those from the LKLUG font. Finally the range was completely replaced by glyphs from the sinh TeX font, with much help and advice from Harshula Jayasuriya. Range: Sinhala (U+0D80-U+0DFF).

Daniel Shurovich Chirkov. Dan Chirkov updated the FreeSerif font with the missing Cyrillic glyphs needed for conformance to Unicode 3.2. The effort is part of the Slavjanskij package for Mac OS X. range: Cyrillic (U+0400-U+04FF).

K.H. Hussain and R. Chitrajan. Rachana in Malayalam means to write, to create. Rachana Akshara Vedi, a team of socially committed information technology professionals and philologists, has applied developments in computer technology and desktop publishing to resurrect the Malayalam language from the disorder, fragmentation and degeneration it had suffered since the attempt to adapt the Malayalam script for using with a regular mechanical typewriter, which took place in 1967-69. K.H. Hussein at the Kerala Forest Research Institute has released "Rachana Normal" fonts with approximately 900 glyphs required to typeset traditional Malayalam. R. Chitrajan apparently encoded the glyphs in the OpenType table. In 2008, the Malayalam ranges in FreeSerif were updated under the advise and supervision of Hiran Venugopalan of Swathanthra Malayalam Computing, to reflect the revised edition Rachana_04. Range: Malayalam (U+0D00-U+0D7F).

Solaiman Karim filled in Bengali (U+0980-U+09FF). Solaiman Karim has developed several OpenType Bangla fonts and released them under GNU GPL.

In December 2005 the team at www.gnowledge.org released a set of two Unicode pan-Indic fonts: "Samyak" and "Samyak Sans". "Samyak" font belongs to serif style and is an original work of the team; "Samyak Sans" font belongs to sans serif style and is actually a compilation of already released Indic fonts (Gargi, Padma, Mukti, Utkal, Akruti and ThendralUni). Both fonts are based on Unicode standard. You can download the font files separately. Note that Oriya was dropped from the Freefont project.

Kulbir Singh Thind added Gurmukhi (U+0A00-U+0A7F). Dr. Kulbir Singh Thind designed a set of Gurmukhi Unicode fonts, AnmolUni and AnmolUni-Bold, which are available under the terms of GNU license from the Punjabu Computing Resource Center.

Daniel Johnson. Created by hand a Cherokee range specially for FreeFont to be "in line with the classic Cherokee typefaces used in 19th century printing", but also to fit well with ranges previously in FreeFont. Then he made Unified Canadian Syllabics in Sans, and a Cherokee and Kayah Li in Mono! And never to be outdone by himself, then did UCAS Extended and Osmanya.... What next?

Armenian (serif) (U+0530-U+058F)

Cherokee (U+13A0-U+13FF)

Unified Canadian Aboriginal Syllabics (U+1400-U+167F)

UCAS Extended (U+18B0-U+18F5)

Kayah Li (U+A900-U+A92F)

Tifinagh (U+2D30-U+2D7F)

Vai (U+A500-U+A62B)

Latin Extended-D (Mayanist letters) (U+A720-U+A7FF)

Osmanya (U+10480-U+104a7)

George Douros, the creator of several fonts focusing on ancient scripts and symbols. Many of the glyphs are created by making outlines from scanned images of ancient sources.

Steve White filled in a lot of missing characters, got some font features working, left fingerprints almost everywhere, and is responsible for these blocks: Glagolitic (U+2C00-U+2C5F), Coptic (U+2C80-U+2CFF).

Pavel Skrylev is responsible for Cyrillic Extended-A (U+2DEO-U+2DFF) as well as many of the additions to Cyrillic Extended-B (U+A640-U+A65F).

Mark Williamson made the MPH 2 Damase font, from which these ranges were taken:

Hanunóo (U+1720-U+173F)

Buginese (U+1A00-U+1A1F)

Tai Le (U+1950-U+197F)

Ugaritic (U+10380-U+1039F)

Old Persian (U+103A0-U+103DF)

Primoz Peterlin filled in missing glyphs here and there (e.g., Latin Extended-B and IPA Extensions ranges in the FreeMono family), and created the following UCS blocks:

Latin Extended-B (U+0180-U+024F)

IPA Extensions (U+0250-U+02AF)

Arrows (U+2190-U+21FF)

Box Drawing (U+2500-U+257F)

Block Elements (U+2580-U+259F)

Geometrical Shapes (U+25A0-U+25FF)

Jacob Poon submitted a very thorough survey of glyph problems and other suggestions.

Alexey Kryukov made the TemporaLCGUni fonts, based on the URW++ fonts, from which at one point FreeSerif Cyrillic, and some of the Greek, was drawn. He also provided valuable direction about Cyrillic and Greek typesetting.

The Sinhala font project has taken the glyphs from Yannis Haralambous' Sinhala font, to produce a Unicode TrueType font, LKLUG. These glyphs were for a while included in FreeFont: Sinhala (U+0D80-U+0DFF).

A follower of Calugi writes: Jonathan is a young illustrator hailing from Pistoia, Italy. It's nearly impossible to not recognize his signature style: what at first appears to be a child-like doodling, a closer look will reveal a world of intricate, carefully crafted patterns and eccentric geometric forms. [Google]
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Student at ZIVA, a typography and graphic design school in Harare, Zimbabwe, led by Saki Mafundikwa. In 2001, she designed an alphabet inspired by rock paintings, with letters in the forms of humans. Her alphabet is featured in "Language Culture Type" (John D. Berry ed., Graphis, 2002). [Google]
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Max Kisman (b. 1953, Doetinchem) is a Dutch freelance graphic designer who graduated in 1977 in graphic design, typography, illustration and animation at the Gerrit Rietveld Academy in Amsterdam. In 1986, he co-founded TYP/Typografisch Papier, and taught graphic design and typography at various colleges in the Netherlands in the years following that. He is principal of MKDSGN, his studio in Mill Valley, California, and founded Holland Fonts, a foundry for his typeface designs in 2002. Max teaches graphic design, typography and typeface design in San Francisco. He currently lives in Mill Valley, CA.

Russian type designer (b. Orel, Russia, 1924, d. 2002). He lost both legs in World War II, but persevered and graduated in 1949 from the Moscow Printing Institute. He started working at the Type Design Department of VNIIPoligraphmash (National Printing Research Institute). From 1991 he worked for ParaType, Moscow. Isay Slutsker worked for major Soviet publishers, Khudozhestvennaya Literatura and Prosveshcheniye, designing and illustrating general fiction literature and textbooks. Slutsker designed many typefaces for a number of scripts and writing systems. Among his Cyrillic and Latin designs are Baltica (1951-2, a spin-off of Candida-Antiqua by Jakob Erbar; in co-operation with Vera Chiminova; Paratype did a revival in 1998); Bruskovaya Gazetnaya ('Slab-serif newstype', 1949; in co-operation with Alexandra Korobkova); Mysl (1986, a makeover of the typeface originally created by Vera Chiminova in 1966); PT Caslon (1962 and 1992, a version of the ATF Caslon; assisted by Tatiana Lyskova and Manvel Shmavonyan; also called Caslon 540); ITC Franklin Gothic Cyrillic (1993; assisted by Tatiana Lyskova); PT BT Humanist 531 Cyrillic (1988, based on the Bitstream version of Syntax, by Hans Eduard Meier; assisted by Manvel Shmavonyan); PT BT Geometric Slabserif 712 (1999, based on the Bitstream version of Monotype Rockwell; assisted by Manvel Shmavonyan); MyslNarrowC (1992-1996, at Intermicro, together with Svetlana Ermolaeva and Emma Zfcharova). Slutsker's Greek typefaces are Obyknovennaya Novaya ('New Standard', 1950s); Rublenaya Slutskera ('Slutsker Sans'; 1960s); Chronos (1980s). Isay Slutsker created several typefaces for Hindi, Bengali, Gujarati and Kannada. He designed two Amharic and one Hangul typeface, Inmin. Slutsker's Humanist 531 Cyrillic was among the winners of Kyrillitsa'99 and won an award at Bukvaraz 2001.

Jason was born in Loresho Grove, Kenya, in 1997. He created the free constructivist typeface Booyakasha in 2013. This squarish typeface is based on the Nickelodeon Teenage Mutant Ninja Turtles title. Finger Maniac (2013) was made with FontStruct.

Frenchman Jérémie Hornus studied typography at Le Scriptorium de Toulouse, France and the University of Reading, where he graduated in 2006. He worked at Dalton Maag, where he designed Tornac (which became a retail typeface in 2013 at Dalton Maag), a connected script face, and was involved in brand identity for clients such as Burberry, Toyota, HP, Nokia, Danish Industries, Dubai Metro, Manchester Metrolink, and the city of Southampton.

Currently located in Paris, he set up his own commercial foundry in 2013. He also started publishing some of his typefaces at the French type coop Fontyou in 2013. His typefaces:

At the end of 2013, Jason Vandenberg and Jérémie Hornus codesigned the groovy poster typeface Jack FY.

In 2013, he collaborated with Alisa Nowak and Fabien Gailleul at FontYou on the design of the astrological simulation typeface Astral FY. The same group of three collaborated in 2014 on Naive Gothic FY.

In 2014, Julien Priez, Hugo Dumont, Jérémie Hornus and Alisa Nowak codesigned Rowton Sans FY, a sans family patterned after Gill Sans in six weights, from Hairline to Bold---named after Arthur Eric Rowton Gill, it has the Gillian lower case g but italic lowercase is a bit too far afield for my own taste, especially the squeezed g.

Originally from North Carolina (b. 1979), Jesse Ragan studied type design at Rhode Island School of Design. After college, Jesse designed typefaces at Hoefler&Frere-Jones, where he had a hand in Gotham, Archer, and several other families. Since 2005, he has worked independently in Brooklyn, developing typefaces and lettering for a variety of clients. His work can be found at Font Bureau, House Industries, and Darden Studio. He also teaches typeface design at Pratt Institute and Cooper Union. He won an award at Bukvaraz 2001 for Gotham, co-designed with Jonathan Hoefler and Tobias Frere-Jones.

His typefaces:

Afri Sans (2011). A custom typeface for the Museum for African Art in Manhattan.

Athenian Extended (2011). By Matteo Bologna and Jesse Ragan. This "playfully peculiar face" (their words) was custom designed for Typography 32, the annual of the Type Directors Club. A revival of the 19th century classic Athenian.

Export (2012). A vernacular typeface based on signage seen in New York's Chinatown.

Hoefler & Frere-Jones, 2001-2005. Assistance with the production of several typefaces at HFJ: As a full-time typeface designer for Hoefler & Frere-Jones from 2001 to 2005, I designed a full type family for Smirnoff Vodka (art directed by J. Walter Thompson and H&FJ). Working closely with Tobias Frere-Jones and Jonathan Hoefler on a number of other typefaces, I designed bits and pieces such as hairline weights, Italics, and news grades. These include Mercury, Chronicle, Hoefler Titling, Sentinel, Surveyor (2014)), Gotham, and Archer (a type family done for Martha Stewart Living and designed with Hoefler and Frere-Jones).

Omnes (2006). A monowidth rounded sans designed by Joshua Darden. Ragan assisted in the production and design process.

The Bruins (2006). An athletic lettering typeface commissioned by Reebok for The Boston Bruins in 2007-2008.

USA Today Condensed (2012). He writes: I designed this headline typeface for the dramatic relaunch of USA TODAY, which was overseen by Wolff Olins. The condensed style complements the paper's proprietary version of Futura, but without resorting to the familiar elliptical shapes of Futura Condensed.

Carlstedt Script (2013, with Ben Kiel: a custom signage typeface for Aldo Shoes based on the handwriting of Swedish illustrator Cecilia Carlstedt). Cortado Script (2014) was designed by Jesse Ragan and Ben Kiel. It too was inspired by Cecilia Carlstedt's hand-painted lettering and is quite close to Carlstedt Script.

Colombian type and graphic designer (b. 1974), who graduated from Universidad Nacional de Colombia (1997). Co-founder of ADG Colombia (Colombian Association of Graphic Designers). He was studying for a Postgraduate degree in Type Design at UBA (Universidad de Buenos Aries) in Argentina. He currently lives in Argentina.

In 2012, Macondo---which was started in 1997---was published at Google Web Fonts, together with Macondo Swash Caps. John writes about this art nouveau pair: The forms are inspired by some illustrations created for a tarot card game, itself inspired by the work of Colombian literature Nobel prize winning author, Gabriel García Márquez, Cien Años de Soledad. Macondo won an award in the display type category at Tipos Latinos 2012.

Still in 2012, he published Germania One at Google Web Fonts---an angular typeface that is a hybrid between blackletter and sans serif, and looks like the signage on many German pubs. Cygnus (2012) is a futuristic typeface. Dulcinea Serif (2012) is an uncial typeface. Cabriolet (2012) is the standard Detroit car emblem type used on cars in the 1950s and 1960s.

In 2013, John Vargas Beltran created the fifties automobile or diner script Cabriolet V8.

In 2014, he returned to African themes, perhaps jarred by the death of Nelson Mandela. His first typeface of the year is Kalimba (named after an African percussion instrument), which comes in several textured styles called Masai, Kingombo and Nenyanga. Guadalupana (2014) is based on bronze ecclesiastical letters found in the the Virgin Guadalupe basilica in Mexico, designed in 1976 by Pedro Ramirez Vazquez. Tequendama is a squarish inline typeface that is rooted in pre-Columbian pre-hispanic Muisca tribal art.

During her studies at Durban University of Technology in Durban, South Africa, Kelly Fletcher created Typografika (2015), an ornamental caps typeface based on tribal African patterns and the shapes of African city buildings. [Google]
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From the blurb at TypeCon 2009: Diane Collier has over 20 years experience in type design and development specializing in complex scripts, with technical expertise in font hinting and OpenType development. Collier started her professional career in 1988 as a type designer for Compugraphic Corp. in Massachusetts, where she worked with many of today's top designers and developers. Collier started Kigali Designs in 1998 and has established a reputation in the industry for providing high quality work, while developing long term relationships with companies like Microsoft, Ascender, Monotype Imaging and others. She has written several font development specifications and created training videos for Microsoft. In addition, Collier provides training in many of the industry's type development tools for companies and individuals. When not on the computer, Collier teaches pottery and drawing at a local art school. She made a font by Arthur Baker into an 8-set family in 1994, called Kigali, an African-look family in memory of the victims of the 1994 Ruanda genocide. Kigali Designs will also do custom font work from their office in Massachusetts. [Google]
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Visual designer in Amsterdam. Designer of the elliptical typeface Yon (2010), a typeface designed during a course at Politecnico in Milan where he studied under Gio Fuga. Leandro is from Belo Horizonte, Brazil. Other typefaces:

Lavi Turkenich graduated at Ramat Gan's Shenkar College of Engineering and Design, Bezalel Academy of Arts and Design, Jerusalem, in 2012. She created Aravrit (Arabic-Hebrew) as her final project. She graduated from the MATD program at the University of Reading, class of 2013. Liron's graduation typeface there, Makeda, is the first typeface that covers Latin, Hebrew and Amharic (Ethiopic) in a purposeful sense, i.e., not as three parts of one of the well-known full Unicode fonts. Liron writes: The three scripts were designed simultaneously in order to allow mutual influences. The design efforts were put into harmonising the scripts into one coherent family, while preserving their basic traditional structure. Makeda is named after an Ethiopian Queen also known as the Queen of Sheba.

Haaretz writes this about Aravrit: Lavi Turkenich does not speak Arabic, but she says she made substantial use of the comments she solicited from Arab passengers she approached at random during her daily train commute from her home in Haifa to her studies in Ramat Gan. Lavi Turkenich’s Aravrit is somewhat less legible for speakers of both languages than each of the original typefaces from which it was crafted, and the Arabic letters are isolated rather than attached as they are usually written.

Gambian site run by Jouni Jaakkola out of Banjul. It has three free truetype fonts for writing Mandinka, all made by the Summer Institute of Linguistics in 1994: GamBiaSILSophiaLBold, GamBiaSILSophiaL, GamBiaSILSophiaLItalic. [Google]
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Graphic designer in Brisbane who created the purely geometric typeface Tritalics and the free dot matrix typeface Circursive in 2012. Born in Tanzania, Martin has lived in Laos, is half Dutch and has an Irish passport.

The Mende script from Sierra Leone was devised around 1920 by Kisimi Kamala and is purely phonetic and has 195 characters. The Mende people belong to the Mande group of languages which includes Bambara. [Google]
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Slovenian designer (Ljubljana, b. 1983) of the futuristic monoline sans family Nouvelle during the design workshop TipoBrda in 2008. It was perfected and started selling at MyFonts in 2011. In 2009, she created Afrikana [Behance link], an alphabet with a decidedly African theme.

N'ko (or Nko) is a West-African alphabet created in 1949 by Souleyman Kante. Its alphabet and rules are shown on this page. It is mainly used by speakers of Malinke, Bambara, Dioula and their dialects, especially in Guinea, Mali and Ivory Coast. [Google]
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A large free font family released under the Apache license at Google Web Fonts. URL with details. The fonts are property of Monotype, with the exception of Noto Khmer and Noto Lao, which belong to Danh Hong.

From Nigeria and Cameroon: this script was invented by the Ejagham people of southeastern Nigeria and southwestern Cameroon. The ideographs represent life among the Ejagham. Today, nsibidi is still widely used by Cuban blacks and called anaforuana and used by such secret societies as the Abakua. [Google]
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Quebec-based computer scientist who has been involved in the multilingual and Unicode world. He was one of the authors of a proposal adding Tifinagh to Unicode. He is currently working with people in France and Niger on the development of OpenType fonts to support Tuareg. He is also involved in other African scripts such as Moroccan and Sahelian Arabic and a recent script from the Congo (Mandombe). [Google]
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Foundry in League City, TX, started in 1993 by its head designer, Chris MacGregor. Fonts available through [T-26], Prototype and Image Club. About 40 dollars per face. Interesting display faces include Citore, Zehrgut, LeslieSmith and Manitu. Also check the dingbats Afrobats and Nerybats. It is unclear if Chris designed all of these fonts. I wish they would indicate who made what. Anyway, the list of typefaces: Afrobats, Nerybats, Tagged, Citore, Emulate, Emulate Bold, Bridgework, Epaulet, Utile Inky, Utile Inky Italic, Utile, Utile Italic, Utile Coastic Italic, Utile Caustic, Leslie Smith, Zehrgut, Neohead, Itto Round, Empanel, Empanel Bold, Arrgoculture, Itto Block, Linkletter, Fleming Tall, Fleming Short, Delfinola, Attune, Fleming multiple master, Manitu, Monte Family, Pep Club, Stans. Here he says in 2009: I have over forty commercial typefaces available for sale through various type re-sellers around the world and my average yearly income off the typefaces is $115, even though I regularly see my typefaces in use on the web, on TV in print and in video games. I used to think that one day I'd have a nice supplemental income from my typefaces but the reality of the situation is that people like you don't value the effort that goes into making a typeface. I haven't designed a new typeface in eight years now and I have no desire to do so. Why should I when you're going to be a big bitching twat you greedy self-centered tantrum throwing teenager? Fuck the foundries? You and others who haven't paid for the typefaces you use have been fucking the foundries for years. Fuck the foundries? Fuck you. [Google]
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Very interesting reading: Aberra Molla of Ethiopian Computers&Software graphically proves plagiarism cases against Ato Yitna Firdyiwek (Modified ModEth to GohaTibeb), and fights the style of Ethiopic practiced by Daniel Yacob, who is also known as Mr. Daniel Mulholland, Ato Fekade Mesfin - Feedel Software, Los Angeles, California, Ato Abass Alamnehe, and Ato Daniel Admasse. He states that the font AmharQ listed at LiveGeez is an illegal (renamed) copy of his GeèzEdit Amharic P font (they took that font and changed the name to AmharQ and passed it on to Dr. Berlin). [Google]
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American graduate from the type design program at the University of Reading in 2010. She created the typefaces Rhodora and Eskesta for her graduation project: Rhodora and Eskesta were designed together as a harmonious family. Rhodora was inspired by the work of Joseph Blumenthal in the 1930s and the poetry of Ralph Waldo Emerson (The Rhodora). Eskesta, named after a traditional shoulder dance, follows Rhodora's lead, with a slender calligraphic style from 17th-century Ethiopia. Rhodora and Eskesta are serious and sober, but sympathetic. Created for magazines and newspapers, with support for Amharic and European languages, Rhodora and Eskesta speak clearly in print. [Google]
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Seonil Yun designed Zaghawa Beria (2007, SIL), a free font for Central african writingi, in cooperation with SIL International and the Mission Protestante Franco-Suisse au Tchad. It is built around a sampling of the markings on livestock (especially camels) within the Zaghawa Beria language region of western Sudan and eastern Chad. It is an idea that has its origins in the work of a Sudanese schoolteacher, who developed the first version of this over 25 years ago. The script has since been better adapted to the Zaghawa Beria language by Siddik Adam Issa, and he has found a great enthusiasm by the people for what he has put together. Seonil obtained a Masters degree in type design at KABK in Den Haag in 2008. [Google]
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Located in Dallas, TX, est. 1934. Founded over 70 years ago, SIL International is a faith-based organization that studies, documents, and assists in developing the world's lesser-known languages. SIL's staff shares a Christian commitment to service, academic excellence, and professional engagement through literacy, linguistics, translation, and other academic disciplines. SIL makes its services available to all without regard to religious belief, political ideology, gender, race, or ethnic background.Fonts in Cyberspace is an archive of many multilingual fonts. SIL Fonts, free to all, and professionally put together include the following:

Doulos SIL Font: A Unicode font with a comprehensive set of characters needed for almost any Roman- or Cyrillic-based writing system (including IPA), whether for phonetic or orthographic needs.

Gentium: Supports a wide range of Latin-based alphabets and includes glyphs that correspond to all the Latin ranges of Unicode. Gentium Plus supports a wide range of Latin, Greek and Cyrillic characters. It was developed between 2003 and 2014 by J. Victor Gaultney (main designer), Annie Olsen, Iska Routamaa, and Becca Hirsbrunner. CTAN download link.

Lateef: An extended Arabic script font for OpenType and AAT systems. See also here.

SIL Encore Fonts: Library of phonetic characters and linguistic symbols. This package includes SIL Doulos (similar to Times), SIL Sophia (similar to Univers), SIL Manuscript (monospace, like Prestige), and SIL Charis (enlarged x-height). Included is Sophia Nubian (2008), which is based on an old Nubian text.

Unicode BMP Fallback SIL font (2008). Intended for debugging, this font contains a glyph for every character in the Basic Multilingual plane (including Private Use Area) of Unicode 5.1, each glyph consisting of a box enclosing the four hex digits identifying the Unicode scalar value.

Nsibidi: a complex Nigerian system of pictograms and ideograms, known as Nsibidi (or Nsiberi) has been used traditionally in the cross river area of Nigeria, especially among the Ekoi, Igbo and Ibibio.

Nubian: Ethiopian script.

Amharic: Another Ethiopian script.

Ibo Geneva Style: Geneva with proper diacritics for Ibo.

Nigerian Times.

Pan African Arial Style.

Orisha Arial Style.

Djuka: A pictogram language from Suriname, 1910.

Voodoo (Veve): A particularly elegant set of pictograms found in Haiti.

SymbolMinded is Marie Flaherty's foundry in Scituate, MA. Her first typeface is Adinkra Symbols (2012), which is a set of 100 symbols from Ghana named after King Adinkra.

Hobo Symbols Mod and Hobo Symbols Chalk (2012) are hobo symbol fonts. She writes: During the period of the Great American Depression hobos created a system of symbols to communicate and assist fellow travelers. These symbols would mark a home, farm, fence or other structure to indicate what to expect in the area. They would tip off travelers on how to find food, stay safe and what to avoid and more. In some areas of the USA, these symbols are still visible and have also become part of the American popular culture. [Google]
[MyFonts]
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Thaddeus "Ted" Szumilas was born in Poland in 1951. In 1966 he emigrated to the United States where he attended Haaren H.S. and Parsons School of Design, majoring in Graphic Design. Practical experiences at Lubalin, Smith&Carnase Design Studio and with John Pistilli at Sudler&Hennessey ad agency prepared him for the real world of typographic design. He did book jackets, packaging, corporate identity, entertainment and TV. Here is one of his early typefaces. Thaddeus has been teaching the curriculum of basic and advanced typography at Pratt Institute in Brooklyn, New York, from 1998-2008. Designer of the swashbuckler / medieval script family Ovidius Script (2001, FontHaus; in Light, Demi and Bold weights; also known as TS Ovidius), Sans Original, On The Line (2008, great calligraphic grunge), Singles Bar (2008, display sans), Wind Factor (more calligraphic grunge), Agitas Gallery (2008, blackletter), Big New Sign (2008), Breslau City (2008), Daily Fix (2008), Deltona (2008), Nigerian King (2008, avant garde face), Stigmal (2008, African theme), Amerigraf (2009), Election (2009, medieval with a rough outline), Gillateg (2009, grungy outline), Wackoface (grungy like Treefrog), Taliography (2009, another script with a rough outline).

John Hudson and Wm. Ross Mills, the co-founders of Tiro Typeworks, design wonderful top-of-the-line fonts in Vancouver. From the TIRO web page: TIRO TYPEWORKS is an independent digital type foundry developing&marketing high quality typeface families for PC and Mac platforms. Our commitment is to continuing the independent tradition of typography, as it has existed for more than five hundred years, free from the influence of fashion and novelty. Tiro is increasingly involved in font technologies, and are avid advertisers for OpenType and work often with Microsoft and Linotype on projects. Interview in 2008 by Hiba Studio. Tiro's typefaces:

Academia (1997, by Mills).

The titling and display typeface Aeneas based on classical Roman capitals. This incomplete typeface was created by John Hudson based on glyphs drawn by an Austrian designer.

1530 Garamond (one of the most beautiful and faithful revivals of Claude's creations), by Mills.

Manticore (John Hudson's own absolutely magnificent brainchild).

Plantagenet (by Mills).

Sylfaen was designed for Microsoft in 1998 by John Hudson and Wm. Ross Mills of Tiro Typeworks, and Geraldine Wade of Monotype Typography. Sylfaen is a Welsh word meaning "foundation"; an apt name since the font stemmed from research into the typographic requirements of many different scripts and languages. Sylfaen supports the WGL4.0 character set, for Pan-European language coverage. In addition to Latin, Greek and Cyrillic letterforms, the font contains the characters necessary for support of the Armenian and Georgian languages. [Download site, see also here].

Hudson also does corporate identity work, such as HeidelbergGothicOsF (done for Heidelberger based on NewsGothic). Other clients included Microsoft, IBM and Apple.

In 2001, Mills developed Pigiarniq (Download site), a multiscript typeface for native American languages. This project was commissioned by the government of Nunavut, a new Canadian territory. Note: please visit the page on James Evans' type cutting methods: it was this missionary who developed the Cree writing system which was later adapted for use with Inuktitut.

Winner with Mamoun Sakkal and Paul Nelson at the TDC2 2003 competition for Arabictype.

Designer of the free constructivist Cyrillic simulation grunge font VKB KonQa (2006), about which he writes that My typeface was influenced by Communism, Land Politiks, War and Grunge in Afrika. Victor Bagu (b. 1982) lives in Harare, Zimbabwe. Alternate URL. He operates under the label Victorius Graphics. [Google]
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Magma Brand Design in Karlsruhe, Germany evolved in 2004 into Volcano Type. Magma is headed by Lars Harmsen (b. Hannover, 1964) and Ulrich Weiss. Lars Harmsen spent the first four years of his life in Chicago. He then moved to Geneva with his parents for eight years, and then moved to Karlsruhe. He completed his schooling at the French section at the European School. He first studied history and Germanics in Freiburg before beginning to study design at Basel, Boston, Saarbrücken and Pforzheim. He got his degree in graphic design, and in 1996 he founded MAGMA [Büro für Gestaltung] together with Ulrich Wei&szlig. He is the co-founder of STARSHOT GmbH, a design company for sports products, now based in Munich. MAGMA created Type Foundry Volcano-Type.de and the internet forum Slanted.de. In the meantime, Slanted.de has become the most active German typography forum. Volcano Type offers commercial and some free typefaces: DigiBo (Boris Kahl), Objects (free ransom typeface by the house), MonoPoint and DoublePoint (monospace dot matrix families by the house), Amiga Normal and Rounded (pixel faces by Boris Kahl), Screeny, Pixel and C64 Style (pixel faces by Boris Kahl), Fette Pixel (pixel typeface by Florian Gärtner), Teckbo (digital typeface by Boris Kahl, who writes: Retro-Avant-Garde for Club-Flyer-Honks and Plastic-Pussy-Chicks), Psycho (grunge by Boris Kahl), Wald Ast (tree branch look by Sandra Augstein), Wald Blatt (tree leaf look by Tanja Rastätter), Rollerblind (a pair of dot matrix faces by Boris Kahl), Chaucer (uncial by Boris Kahl), Glossy (dot matrix typeface by Sandra Hofacker), Brüll (a funny frog dingbat typeface by Andre Rösler), Pax (a free peace symbol typeface by Heidrun Weißschädel and Alexander Kassel), Mud (free typeface by Boris Kahl). And these display faces by Florian Gärtner: Republic, Tacora. And finally the Fone 1 through 3 grunge faces by Florian Gärtner. The typefaces of Lars Harmsen (or codesigned by him) at Volcano:

British typefounder in London, 1754-1833. Son of William Caslon II, grandson of William Caslon I. He co-owned the Chiswell Street family firm from the death of his father in 1778 until 1792, when he sold his share in the foundry to his mother and his sister-in-law, the widow of his brother Henry. In the same year he purchased the Salisbury Square foundry of Joseph Jackson (apprentice to his grandfather and rival to his father), who had recently died, and called the foundry Caslon&Son. In 1807, this business was passed on to his son William Caslon IV who in turn sold up in 1819 to Blake, Garnett&Co. (later Stephenson Blake). Author of A specimen of printing types (1785, Galabin and Baker, London) and A specimen of cast ornaments (1795, C. Whittingham, London).

Shareware Yoruba language fonts developed at the University of Wisconsin-Madison Yoruba program by Antonia Schleicher. Truetype for Mac and PC. 20USD for the full font, free for lower case letts only. [Google]
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